The Byrds - Mr. Tambourine Man - YouTube The Byrds - Mr. Tambourine Man Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later. Uploaded on Jul 12, 2010 The Byrds - Mr. Tambourine Man 1965 "Mr. Tambourine Man" is a song written and performed by Bob Dylan, which was released on his 1965 album Bringing It All Back Home (see 1965 in music). The Byrds also recorded a version of the song that was released as their first single on Columbia Records and which reached #1 on both the Billboard Hot 100 chart and the UK Singles Chart. The Byrds' version was also the title track of their first album, Mr. Tambourine Man.

The Byrds had access to an early version of the song recorded by Dylan and Ramblin' Jack Elliott during the session for the 1964 album Another Side of Bob Dylan. Because of their early access to the song, The Byrds were able to release their version just two weeks after Dylan's. The Byrds' recording of the song was influential in initiating the musical subgenre of folk rock, leading many contemporary bands to mimic its fusion of jangly guitars and intellectual lyrics in the wake of the single's success. This song has been covered by many artists, including Judy Collins, Odetta, Melanie, and William Shatner. The song's popularity led to Dylan recording it live many times, and it has been included in multiple Dylan and Byrds compilation albums. It has been translated into several languages, and has also been used in television shows and films, and referenced in several books. The song has a bright, expansive melody and has become famous in particular for its surrealistic imagery, influenced by artists as diverse as French poet Arthur Rimbaud and Italian filmmaker Federico Fellini. The lyrics call on the title character to play a song and the narrator will follow.

Interpretations of the lyrics have included a paean to drugs such as LSD, a call to the singer's muse, a reflection of the audience's demands on the singer, and religious interpretations. Dylan sings the song in four verses, but only one of these was recorded by The Byrds. Dylan's and The Byrds' versions have appeared on various lists ranking the greatest songs of all time, including an appearance by both on Rolling Stone's list of the 500 best songs ever. Both versions also received Grammy Hall of Fame Awards. In other news, I have added the lyrics to this song so you can sing along, or perhaps learn the song! This is how I learned my first Byrds song! Enjoy :) Category Mr. Tambourine Man by The Byrds Songfacts Mr. Tambourine Man by The Byrds Songfacts Songfacts Bob Dylan wrote this, and the song was originally released on his fifth album Bringing It All Back Home on March 22, 1965. The Byrds cover, released later in 1965, is the only song Dylan ever wrote that went to #1 in America.

Dylan wrote this on a road trip he took with some friends from New York to San Francisco. They smoked lots of marijuana along the way, replenishing their stash at post offices where they had mailed pot along the way. The Byrds version is based on Bob Dylan's demo of the song that he recorded during sessions for his 1964 album Another Side of Bob Dylan (Dylan's version was not yet released when The Byrds recorded it). It was The Byrds manager Jim Dickson who brought in the demo and asked them to record it - the group refused at first because they thought it didn't have any hit potential. When The Byrds did record it, they took some lyrics out and added a 12-string guitar lead. Only three of the five members of the Byrds performed on this song: Roger McGuinn sang lead and played lead guitar; Gene Clark and David Crosby did the vocal harmonies. Session musicians were brought in to play the other instruments, since the band was just starting out and wasn't deemed good enough yet by their management.

The session musicians who played on this song were the Los Angeles members of what came to be known as "The Wrecking Crew" when drummer Hal Blaine used that term in his 1990 book. This group of about 50 players ended up on many hit songs of the era. In addition to Blaine, studio pros who played on this song were: Bill Pitman - guitar Larry Knechtel - bass Leon Russell - piano The Byrds who didn't play on this one were bass player Chris Hillman and drummer Michael Clarke. This was the Byrds' first single. In a 1975 interview with Let It Rock, Roger McGuinn explained how the unrefined sound of this song came about. Said McGuinn: "To get that sound, that hit sound, that 'Mr. Tambourine Man' sound, we just ran it through the electronics which were available to us at that time, which were mainly compression devices and tape delay, tape-sustain. That's how we got it, by equalizing it properly and aiming at a specific frequency. For stereo-buffs out there who noticed that 'Mr.

Tambourine Man' in stereo isn't really stereo, by the way, that's because when Terry Melcher, the producer, first started mixing records he didn't know how to mix stereo, and so he made all the singles up to 'Turn Turn Turn' mono. The label is misrepresentative. See, when Columbia Records signed us, they didn't know what they had. So they gave production to someone low on the totem-pole-which was Terry Melcher who was Doris Day's son who was getting a token-job-in-the-mailroom sort of thing. They gave him the Byrds and the Byrds were supposed to flunk the test." This song changed the face of rock music. It launched the Byrds, convinced Dylan to "go electric," and started the folk-rock movement. David Crosby of The Byrds recalled the day Dylan heard them working on the song: "He came to hear us in the studio when we were building The Byrds. After the word got out that we gonna do 'Mr. Tambourine Man' and we were probably gonna be good, he came there and he heard us playing his song electric, and you could see the gears grinding in his head.

It was plain as day. It was like watching a slow-motion lightning bolt." (Quote from Bob Dylan: Performing Artist: The Early Years.) This was inspired by a folk guitarist named Bruce Langhorne. As Dylan explained: "Bruce was playing with me on a bunch of early records. On one session, [producer] Tom Wilson had asked him to play tambourine. And he had this gigantic tambourine. It was, like, really big. It was as big as a wagon wheel. He was playing and this vision of him playing just stuck in my mind." Dylan never told Langhorne about it (Bruce had to read about it in the Biograph album liner notes, like the rest of us). He wrote the song and recorded a version with Rambling Jack Elliot that got to the Byrds (known as the Jet Set at the time) before it was ever put on a record. Dylan claims that despite popular belief, this was not about drugs: "Drugs never played a part in that song... 'disappearing through the smoke rings in my mind,' that's not drugs; drugs were never that big a thing with me.

I could take 'em or leave 'em, never hung me up." >> Suggestion credit: Mike - Mountlake Terrace, WA, for above 3 This was the first of many Bob Dylan songs recorded by the Byrds. Others include: "You Ain't Goin' Nowhere," "The Times They Are a-Changin'," "It's All Over Now Baby Blue," and "Chimes of Freedom." The production style was based on The Beach Boys song " Don't Worry Baby ," which was the suggestion of producer Terry Melcher. Bill Pitman, Leon Russell and Hal Blaine had all played on that Beach Boys song, so it wasn't hard for them to re-create the sound on this track. Roger McGuinn: "I was shooting for a vocal that was very calculated between John Lennon and Bob Dylan. I was trying to cut some middle ground between those two voices." >> Suggestion credit: Fredric - NYC, NY, for above 2 This was the first influential folk-rock song. All of the characteristics of that genre are present, including chorus harmonies, a rock rhythm section and lots of thought-provoking lyrics. This was discussed in the 1995 movie, Dangerous Minds.

In the movie, they talked about the underlying drug references this song might entail... Example: "Mr. Tambourine Man"=Drug Dealer; "Play a song for me"=give me a joint. The basis for this theory was that music was heavily censored at that time, so musicians would share their feelings about drugs and unallowed subject material through coded songs. >> Suggestion credit: Kristy - La Porte City, IA Although the Byrds didn't write this or play most of the instruments, they would later write the song "Rock N' Roll Star," which made fun of The Monkees for not writing their own songs and not playing their own instruments. >> Suggestion credit: Conrad - Los Angeles, CA In the movie Austin Powers: International Man of Mystery, Austin Powers (Mike Myers) attempts to play the CD of this album on a record player. >> Suggestion credit: Ethan - Ridgely, MD While many interpreted the song as a thinly veiled drugs record, McGuinn had other ideas.

Having joined the Eastern cult religion Subud just 10 days prior to entering the studio, he saw the song as "a prayer of submission." McGuinn told The Byrds' biographer, Johnny Rogan, in 1997: "Underneath the lyrics to 'Mr Tambourine Man,' regardless of what Dylan meant, I was turning it into a prayer…. I was singing to God and I was saying that God was the Tambourine Man and I was saying to him, 'Hey God, take me for a trip and I'll follow you.'" Mr. Tambourine Man - Bob Dylan | Song Info | AllMusic Mr. Tambourine Man google+ Song Review by William Ruhlmann Bob Dylan's "Mr. Tambourine Man" can lay claim to being the song, through the Byrds' recording, that gave birth to the mid-'60s musical style called "folk-rock." Dylan, who had become famous in 1963 for his socially conscious songs like "Blowin' in the Wind," by mid-1964 had begun to write densely poetic lyrics with unusual imagery that either ignored politics or rejected it.

This material came to the fore on his album Another Side of Bob Dylan, released in August 1964, with songs such as "My Back Pages" and "Chimes of Freedom," but as early as the Newport Folk Festival in July Dylan was singing "Mr. Tambourine Man," another good example of his new style. In the song's chorus, the narrator asks the title character to play a song for him. The time seems to be early morning following a night when the narrator has not slept. Still unable to sleep, though amazed by his weariness, he is available and open to Mr. Tambourine Man's song, and says he will follow him. In the course of four verses studded with internal rhymes, he expounds on this situation, his meaning often heavily embroidered with imagery, though the desire to be freed by the tambourine man's song remains clear. Such a song was and remains open to various interpretations. Was Dylan reflecting the desire he felt from his own audience, so that he, in effect, was the tambourine man? To what extent did such apparent predecessors as the Pied Piper of Hamlin and Jesus Christ figure into the song?

In the wake of the proliferation of drugs in the 1960s, many people interpreted "Mr. Tambourine Man" as referring to drugs. Was the tambourine man a dealer and the narrator's request that he "take me on a trip" a desire to sample his wares? Bob Dylan finally recorded "Mr. Tambourine Man" in New York on January 15, 1965, during sessions for his fifth album, Bringing It All Back Home. The Dylan recording featured his acoustic guitar as accompaniment, with a subdued electric guitar line blending in. The album was released March 22, 1965, reached the Top Ten, and went gold. But the most prominent version of "Mr. Tambourine Man" was the one recorded by the Byrds in Los Angeles five days after Dylan recorded his.

This was the group's first session for Columbia Records, also Dylan's label, and they cut the song with a prominent 12-string electric guitar riff and a rock accompaniment (with a beating tambourine, naturally), using only one of the original four verses in a track that ran less than half the length of the five-and-a-half-minute original. Released in April 1965, the Byrds' record became a massive hit, topping the charts in June. With that, it seemed half the recording acts in L.A. either raided the Dylan repertoire for material (Cher's "All I Really Want to Do," the Turtles' "It Ain't Me Babe") or wrote and recorded material that sounded like it (Sonny & Cher's "I Got You Babe," Barry McGuire's "Eve of Destruction"). Of course, Dylan himself had already broken into the Top 40 with "Subterranean Homesick Blues" and soon would score the biggest hit single of his career as a recording artist with "Like a Rolling Stone." Not surprisingly, "Mr.

Tambourine Man" quickly earned a flurry of cover versions by likely interpreters such as Judy Collins and the Brothers Four and unlikely ones such as the Four Seasons and the Lettermen. Over time, the prominence of the Byrds' hit has tended to overshadow other recordings, though the song remains one of Bob Dylan's best-known compositions, with his version being chosen for inclusion on Bob Dylan's Greatest Hits in 1967 and the Biograph box set in 1985. Appears On Byrds FAQ . They were: Jim McGuinn, David Crosby, Chris Hillman, Gene Clark and Michael Clarke. What were their musical backgrounds? McGuinn had been an accompanist for the Limeliters, the Chad Mitchell Trio, Bobby Darin (recorded as the City Surfers with Darin) and musical director for Judy Collins' third album before forming the Byrds with Clark and Crosby. Gene Clark had been a member of the New Christy Minstrels. David Crosby had been a member of Les Baxtre's Balladeers. Chris Hillman had been a member of the Hillmen. Michael Clarke had been a conga player in San Francisco How and when did they get together?

The Byrds formed in 1964. Jim McGuinn was doing a solo act at the Troubadour folk club in L.A. Gene Clark, who had just left a folk group called the New Christy Minstrels, was in the audience and liked the combination of folk and rock that McGuinn was playing. After the show they discussed writing some songs together. The next day they finished some songs and were playing them in the front room of the Troubadour. They liked the sound they were creating but when David Crosby walked in and began singing a wonderful high harmony part, it was magical. McGuinn had met Crosby before and wasn't sure he wanted to work with him but when David said he had a friend who had a recording studio they could use free of charge, McGuinn had no objections. Crosby's friend was Jim Dickson, a producer at World Pacific Studios on Third Street . Dickson would let the trio record late every night on some old tape that wasn't good enough to use for a record but was fine for rehearsal. Dickson promptly became their manager. They called themselves the Jet Set but when Elektra Records signed them, their name was changed to the Beefeaters.

The Elektra single "Please Let Me Love You" wasn't a hit, so Dickson suggested that they get a bass player and a drummer. Dickson invited Chris Hillman, a bluegrass mandolin player, to the studio to audition as bass player. Chris was such a good musician that he was able to learn the bass quickly. Crosby and McGuinn were standing in front of the Troubadour when they spotted a man coming toward them who looked like a combination of two of the members of the Rolling Stones. Michael Clarke was hired on the spot for just looking the part. Clarke didn't know how to play the drums but that didn't matter. How did the Byrds get their name? The band was having Thanksgiving dinner at Ed Tickner's house. Ed was Jim Dickson's partner in management. They all tried coming up with new names for the band. Gene Clark offered "The Birdsies." Nobody liked that name and Ed said, "How about the Birds? "Birds" was slang in for girls at the time and the band didn't want to be called "the Girls." Tickner asked, "What if you changed the spelling? How about B-U-R-D-S?" Everyone hated that one.

Then McGuinn came up with B-Y-R-D-S. Dickson loved it because it had the magic "B" sound as in Beatles and Bobby. He thought little girls liked the "B" names because they felt less threatened by them. So the group was called "the Byrds”. What instruments did they play? The Byrds were a folk based band. McGuinn, Crosby and Clark all played 12-string acoustic guitars. Hillman was learning on a cheap Japanese bass. Michael didn't have a drum kit, so he learned on a set of cardboard boxes with a tambourine taped to the top. He did have real drum sticks. The first practice recordings they made sounded very primitive. Dickson decided to get a loan so that the band could get some real instruments. They all went to see the Beatles' movie "A Hard Day's Night," and studied the instruments the Beatles were using. With a borrowed $5000.00 and with the trade-in of McGuinn's banjo and guitar they bought a Rickenbacker 12-string electric guitar, a Gretsch 6-string guitar, a Gibson bass, a set of Ludwig drums and three small Epiphone amplifiers.

They also got some black suits with velvet collars just like their heroes the Beatles. Did Gene Clark actually play any guitar in the Byrds? Before Hillman arrived, Gene was to have been the rhythm guitar player and Crosby was to have played bass. But David found that playing bass and singing at the same time was rather like rubbing your head in one direction and your stomach in another. Crosby convinced Gene Clark to give up his guitar and play the tambourine. From that point on Gene didn't play much guitar in the Byrds. What record company did they record for? Thanks to intervention by Jazz man, Miles Davis, the Byrds signed a contract with Columbia Records to record one single. If the single was not a success, they would be back on the street. What songs did the Byrds make popular? Dickson had heard of a Bob Dylan song that Dylan wasn't going to use on his next record because someone was singing out of tune on the track. The song was a folk style tune in 2/4 time with four verses. It ran about five minutes long. Dickson made the Byrds line up in front of the studio monitor and listen to "Mr. Tambourine Man.

Who were the session musicians on their first hit single? The first session for "Mr. Tambourine Man" was too important to leave to the musical skills of this fledgling band. Terry Melcher the producer (Doris Day's son) hired the hit-making "Wrecking Crew" to play the band track for the song. Hal Blaine on drums, Larry Knechtel on Bass Jerry Cole, and Bill Pitman on electric guitar, Leon Russell on electric piano. Jim McGuinn was the only Byrd allowed to play on the session. He played his Rickenbacker electric 12-string. After the first single, the Byrds played on all their own tracks. Who got a No. 1 hit with an electric version of a Dylan composition first, the Byrds or Bob Dylan? The Byrds were the first to get a hit by rearranging (from 2/4 to 4/4 time) a Dylan written song "Mr. Tambourine Man," and recording it with Rickenbacker electric 12-string guitar, electric piano, electric rhythm guitars, bass, and drums.

This, then unknown folk flavored song, was recorded by the Byrds in January of 1965, (see contract) and had reached No. 1 on the Billboard charts before Dylan shocked the folk community later that year by plugging in at the Newport Folk festival. This article is in the Byrds FAQ to correct the ubiquitous misconception that the Byrds followed Dylan's lead in mixing elements of Folk and Rock. The timing was close, but the Byrds were first. There was clearly something in the air in the mid 60s regarding the mixing of genres; The Animals had gotten a No. 1 hit with "The House Of The Rising Sun" on August 15, 1964, and even though the song had been on a Dylan album, it was a public domain Blues. Blues had long been a staple of rock music. Some will say that Dylan recorded with electric instruments in 1962. But this was a failed experiment by Columbia Records, and not a true change in his musical direction, as evidenced by Dylan's complete return to acoustic folk oriented music in its wake. How did the Byrds get their sound? The Byrds sound came about naturally.

First there was the blend of folk and rock styles. Then there were the harmonies. Crosby was largely responsible for the innovative combination of fourth and fifth high harmony parts. Clark and McGuinn sang in unison. The guitar sound was a blend of Gretsch 6-string and Rickenbacker 12-string parts with an occasional acoustic guitar in the background. At first the Rickenbacker didn't have the sound the Byrds were looking for. One of the engineers at Columbia came up with the idea of recording the guitar directly through the board and not through an amplifier, using tube type electronic compressors, in series, to sustain the guitar sound and give it an even quality. That direct, compressed 12-string guitar sound combined with Crosby 's unusual harmonies made the Byrds recordings sound distinctive and different. Did the Byrds meet the Beatles, and who wore those funny little glasses first? in 1966 and they maintained an ongoing correspondence, through Derek Taylor, for many years. Did the Byrds ever work with Bob Dylan? No. The Byrds and Dylan never worked together.

At one time there were plans to record an album together in New York but due to lack of communication, the Byrds flew back to Los Angeles and the project was never begun. Dylan did get on stage and sang a few songs with the Byrds in 1965 at "Ciro's," a Los Angeles club. The picture of that event is on the back cover of the "Mr. Tambourine Man" album. Dylan also gave his approval to the Byrds doing his material. Why did Jim McGuinn change his name to Roger? Jim was born James Joseph McGuinn III. He changed his name in 1967 because a guru in Indonesia said that a new name would vibrate better with the universe. The guru sent Jim the letter "R" and asked him to send back ten names starting with that letter. Because Jim was into gadgets and Sci-Fi, he sent names like "Rocket" and "Ramjet." He included the name Roger only because they use it for radio messages to indicate "OKAY." Roger was the only "real" name in the bunch and the guru picked it. Jim only changed his middle name from Joseph to Roger but used Roger as a stage name.

As far as the vibrating with the universe ... he didn't notice any change and would have changed his name back to Jim (which he liked) but that would have been too confusing. A study of the '60s would help you to understand all this. <G> Why were there so many personnel changes? This is something that happens to most bands. Egos become inflated and band members get on each other's nerves. In the Byrds' case, Gene Clark was the first to leave. He had witnessed a fatal airplane crash as a youth and had never gotten over his fear of flying. He had a panic attack on a plane in L.A. bound for New York. Gene had to get off the plane. McGuinn told him, "You can't be a Byrd, Gene, if you can't fly." Dickson and Tickner had been planning to launch Gene as the next Elvis Presley. That plan never came to fruition. David Crosby was the next to go. He had been dissatisfied with the musicianship of McGuinn, Hillman and Clarke. He had also been interested in working with Stephen Stills. After the Monterey Pop Festival, McGuinn and Hillman confronted David and asked him to leave the group.

David received a large cash settlement to give up his partnership in the Byrds. After that Michael Clarke quit. Hillman and McGuinn were now 50-50 partners in the Byrds. They decided to keep it that way and hired side men to play other instruments. The drummer they hired was Kevin Kelley, Chris Hillman's cousin. The Byrds performed as a trio for a while but felt they needed another player to round out their sound. Chris brought a musician around that he'd met at the bank. His name was Gram Parsons. The next album was all country and they recorded in Nashville. The album, "Sweetheart Of The Rodeo," was a breakthrough in pop music. Now more than 25 years later it is considered a classic. Gram quit working for the Byrds in London only nine months after Chris and Roger had hired him. After an ill fated tour of South Africa, Hillman quit the Byrds leaving McGuinn as sole owner and responsible for paying off a huge debt. McGuinn hired Clarence White and Gene Parsons (not related to Gram) as Guitar player and drummer. John York was hired to play the bass.

This lineup lasted for a short time and John York was replaced by Skip Battin on bass. They continued touring and McGuinn recorded the "Untitled" album with them. Why did McGuinn stop using the name the Byrds? David Crosby, having reached a high point of success with Crosby Stills and Nash, wanted to do a reunion album with the Byrds. David convinced all the original members to join him on Asylum Records for the project. Crosby was upset because McGuinn was still using the name "Byrds." David made McGuinn promise that he would not use the name "Byrds" without him. In 1973 after the failure of the Byrds reunion album on Asylum. McGuinn became a solo artist. Since then the Byrds have done several shows and recorded four new songs on the "Byrds Boxed Set." At this time there are no plans for another reunion. Did the Byrds have a lasting influence on pop music? Yes. The sound the Byrds created with "Jingle Jangle" guitars and vocal harmonies continues to be heard in new bands all over the world, coming out of garages and onto the pop charts.

What's on the Boxed Set and does it sound better than earlier CDs? The Byrds Boxed Set consists of four CDs that cover the entire chronological range of the Byrds from the time of their inception to the time of their last recordings. The CD titles are: WE HAVE IGNITION: Mr. Tambourine Man, I'll Feel A Whole Lot Better, Chimes Of Freedom, She Has A Way, All I Really Want To Do, Spanish Harlem Incident, The Bells Of Rhymney, It's All Over Now Baby Blue, She Don't Care About Time, Turn Turn Turn, It Won't Be Wrong, Lay Down Your Weary Tune, He Was A Friend Of Mine, The World Turns All Around Her, The Day Walk, The Times They Are A-Changin', 5D-Fifth Dimension, I Know My Rider, Eight Miles High, Why, Psychodrama City, I See You, Hey Joe, CRUISING ALTITUDE: Mr.

Spaceman, John Riley, Roll Over Beethoven, So You Want To Be A Rock 'N' Roll Star, Have You Seen Her Face, My Back Pages, Time Between, It Happens Each Day, Renaissance Fair, Everybody's Been Burned, The Girl With No Name, Triad, Lady Friend, Old John Robertson, Goin' Back, Draft Morning, Wasn't Born To Follow, Dolphin's Smile, Reputation, You Ain't Goin' Nowhere, The Christian Life, I Am A Pilgrim, Pretty Boy Floyd, You Don't Miss Your Water, FULL THROTTLE: Hickory Wind, Nothing Was Delivered, One Hundred Years From Today, Pretty Polly, Lazy Days, This Wheel's On Fire, Nashville West, Old Blue, Drug Store Truck Drivin' Man, Bad Night At The Whiskey, Lay Lady Lay, Mae Jean Goes To Hollywood, Ballad Of Easy Rider, Oil In My Lamp, Jesus Is Just Alright, Way Beyond The Sun, Tulsa County, Deportee, Lover Of The Bayou, Willin' Black Mountain Rag, Positively 4th Street FINAL APPROACH: Chestnut Mare, Just A Season, Kathleen's Song, Truck Stop Girl, Just Like A

 Woman, Stanley's Song, Glory Glory, I Trust, I Wanna Grow Up To Be A Politician, Green Apple Quick Step, Tiffany Queen, Bugler, Lazy Waters, Farther Along, White's Lightning, (New versions of) Turn Turn Turn, Mr.

Tambourine Man, He Was A Friend Of Mine, Paths Of Victory, From A Distance, Love That Never Dies All the old masters were transferred to a Sony 64 track digital tape machine and remixed to pull out the stereo that was not included in some of the original mixes. The overall sound quality of the Boxed Set is excellent! When compared to the earliest CD Byrds albums there is a drastic improvement! Were the Byrds inducted into the Rock and Roll Hall of Fame ? What are the former members of the Byrds doing now? Gene Clark and Michael Clarke have passed away. Chris Hillman is working as an acoustic artist and has released two CDs: "Bakersfield Bound" and "Out Of The Woodwork" in the mid 90's. David Crosby continues to tour with Nash and Roger McGuinn tours as a solo acoustic artist and has just released a CD rich in Byrds-like “Jingle Jangle” called: "Limited Edition." It’s also available at Amazon.com <> Will Sony / Legacy reissue the rest of the Byrds CDs?

Sony / Legacy will release "Untitled," "Byrdmaniax," "Farther Along," and a new CD "Byrds Live At The Fillmore" (Recorded in 1969). These will be available in the first half of February, 2000. All will be 24-bit Sony Super Bit Mapping CDs, with bonus tracks! A new Byrds Boxed Set is also in the works. What kind of amps are best to use with a Rickenbacker 12-string? The best amp to use with a Rickenbacker 12-string is the Roland JC-120 Is there an outboard compressor that sounds as good as the one in the Roger McGuinn 370/12RM model 12-string? I like the sound of the JangleBox . What are the best strings and gauges to use on a Rickenbacker 12-string? Pyramid Gold The Ultimate 12-String Set. Pure Nickel Flat Wire Wound Strings with Silver-Plated Plain Strings.

Gauges are .010/.010 , .013/.013 , .010/.020w , .013/.030 , .020w/.035 . .030/.0465 $36.00 each. They are expensive, but these 12-String sets have the best sound and last many times longer than traditional strings. The Byrds - Mr. Tambourine Man (music video) - [ba00516a3] The Byrds - Mr. Tambourine Man Description buy REPOST "Mr. Tambourine Man" is a song written, composed, and performed by Bob Dylan, who released his original version of it on his 1965 album Bringing It All Back Home. The Byrds also recorded a version of the song that they released in the same year as their first single on Columbia Records, reaching number 1 on both the Billboard Hot 100 chart and the UK Singles Chart, as well as being the title track of their first album, Mr. Tambourine Man.

The Byrds' recording of the song was influential in initiating the musical subgenre of folk rock, leading many contemporary bands to mimic its fusion of jangly guitars and intellectual lyrics in the wake of the single's success. Tags: The Byrds The Byrds One of the most influential American rock groups of all time, the Byrds began in 1964 as a Los Angeles folk trio called the Jet Set, composed of Jim McGuinn (who later changed his name to Roger) along with David Crosby on guitar and Gene Clark accompanying on tambourine; all three shared vocal duties. McGuinn had been an accompanist for the Limeliters, the Chad Mitchell Trio, Bobby Darin and musical director for Judy Collins. Gene Clark had been a member of the New Christy Minstrels (along with Barry McGuire and Kenny Rogers). It's an interesting side note that John Phillips of the Mamas and Papas wrote the song "Creeque Alley" based on their experiences during that time, with the line "McGuinn & McGuire still gettin' higher".

Phillips and McGuinn were both living at the Earl Hotel in Greenwich Village, where they had frequent jam sessions with other folk musicians on the scene. Barry McGuire would join them occasionally. McGuire later had a number one hit with "Eve of Destruction," while Phillips was still in New York, struggling to put the Mama's and Papa's together. After changing their name to the Beefeaters, McGuinn, Clark and Crosby recorded an Elektra single called "Please Let Me Love You," which was not well received. By 1964 the group added bassist, Chris Hillman (who also played mandolin), and were in search of a drummer. Crosby and McGuinn were standing in front of the Troubadour when they spotted a man coming toward them who looked like a combination of two of the members of the Rolling Stones. Michael Clarke was hired on the spot for just looking the part. Clarke didn't know how to play the drums, but that didn't matter. Crosby's friend, Jim Dickson, was a producer at World Pacific Studios. Dickson would let the trio record late every night on some old tape that wasn't good enough to use for a record but was fine for rehearsal.

Chris Hillman was playing a cheap Japanese bass and Michael Clarke didn't have a drum kit, so he learned on a set of cardboard boxes with a tambourine taped to the top. The first practice recordings they made sounded very primitive. Dickson decided to get a $5000 loan so that the band could get some real instruments. The band was having Thanksgiving dinner when they tried coming up with a new name for the band. Gene Clark offered "The Birdsies." Nobody liked that name and Dickson said, "How about the Birds"? "Birds" was slang in England for girls and the band didn't want to be called "the Girls." Then McGuinn came up with the B-Y-R-D-S spelling, and it stuck. The group's first big break came when Jazz legend Miles Davis heard them and got them a contract with Columbia Records, contingent on the success of a single. Their second stroke of luck was when Jim Dickson remembered a Bob Dylan song that Dylan wasn't going to use on his next record because someone was singing out of tune on the track. The song was a folk style tune in 2/4 time with four verses. It ran about five minutes long.

Dickson had the Byrds line up in front of the studio monitor and listen to "Mr. Tambourine Man." Crosby said, "I don't like it man! It's too folksy with that 2/4 time and all those verses. Radio will never play a song like that!" David was right. Radio wanted what sounded like Beatles' songs and had a strict time limit of two minutes and thirty seconds for a single record. McGuinn had an idea for a new arrangement. He added a Bach-like intro on his Rickenbacker 12-string guitar and changed the time signature to 4/4 time like a Beatles' song. Then they all auditioned for the lead vocal part. First Gene sang it, then David and finally McGuinn. Dickson liked the way McGuinn sounded on the lead and gave him the part. McGuinn also suggested that they use only one verse to cut down the overall length of the song. They picked the verse with "Boot heels wandering" because it reminded them of "Beat poet," Jack Kerouac. The first session for "Mr. Tambourine Man" was too important to leave to the musical skills of this fledgling band.

Terry Melcher, the producer (Doris Day's son) hired studio musicians to play the instrumental tracks for the song... Hal Blaine on drums, Larry Knechtel on Bass, Jerry Cole, and Bill Pitman on electric guitar and Leon Russell on electric piano. Jim McGuinn was the only Byrd allowed to play on the session, with his Rickenbacker electric 12-string. "Mr. Tambourine Man" was recorded in the winter of 1965 at Columbia's studio "A," in Hollywood. The record sounded good, but Columbia wasn't sure when it should be released and the tape was held back for what seemed like an eternity. Then on June 5, 1965, "Mr. Tambourine Man" was released. By June 26, 1965 it had climbed to the number one spot on Billboard's Hot 100 chart. After "Mr. Tambourine Man", the other members of the Byrds were allowed to record and the group released a full-length debut of the same name, containing a mix of original songs and more Dylan covers.

The album became an instant classic with its jangly 12-string guitar, practically inventing folk-rock. Meanwhile critics proclaimed them "America's answer to the Beatles" and began hyping the group to no end. The Byrds' second No. 1 single, a cover of Pete Seeger's "Turn! Turn! Turn!," also became a 1966 album of the same name, and cemented their status as a band that was both artistically and musically successful. The next Byrds' single, "Eight Miles High," explored a psychedelic sound, and shot to No. 14 despite being banned from most radio stations due to alleged drug references. "Eight Miles High" is actually the altitude that is reserved for military aircraft. After recording 1966's innovative "Fifth Dimension", songwriter Gene Clark left the band, largely because his fear of flying prevented the group from touring. He had witnessed a fatal airplane crash as a youth and had never gotten over it. He had a panic attack on a plane in L.A. bound for New York and had to get off.

McGuinn told him, "You can't be a Byrd, Gene, if you can't fly." Crosby and Hillman wrote most of the songs for 1967's "Younger Than Yesterday", which shifted the band's fan base from teenagers to a cult of older, more radical fans. While recording 1968's "The Notorious Byrd Brothers", David Crosby quit to join Crosby, Stills and Nash. A new Byrd's album featured more studio effects created by McGuinn and even a Moog synthesizer, the first use of synthesizers in rock music. Shortly after its release, drummer Mike Clarke left the band, leaving only McGuinn and Hillman. Jim McGuinn became increasingly interested in Eastern religions, and changed his name to Roger at the urging of an Indonesian guru, who claimed a name beginning with "R" would "resonate better with the universe." Country singer/songwriter Gram Parsons joined the group and gave the band a new country edge. With new drummer Kevin Kelly, the Byrds released what is considered the first country-rock album, 1968's "Sweetheart of the Rodeo".

The group began a tour of South Africa to support the album, but Parsons quit, refusing to play in the country due to its racial policies. Though the group was promised it would play before integrated audiences, it was booked into white-only clubs, prompting Hillman to quit in disgust and join Parsons to form the pioneering country-rock band, the Flying Burrito Brothers. The only original member remaining in the group, McGuinn pressed on, bringing in guitarist Clarence White and bassist John York to record "Dr. Byrds and Mr. Hyde" and "Ballad of an Easy Rider", both released in 1969. The single "Jesus Is Just Alright" prompted the band to continue in its new line-up, and McGuinn brought the band back into the studio in 1970 to record songs for a new album called "Untitled", which also featured live material. After two ill-fated albums, 1971's "Byrdmaniax" and 1972's "Farther Along", CBS dropped the band and the Byrds formally broke up.

In 1973, David Crosby, having reached a high point of success with Crosby Stills and Nash, wanted to do a reunion album with the Byrds and convinced all the original members to join him on Asylum Records for the project. Crosby was upset because McGuinn was still using the name "Byrds", and David made McGuinn promise that he would not use the name "Byrds" without him. Critics slammed the album as a poor imitation of the original band, and the group broke up again before a planned reunion tour. Roger McGuinn started a successful solo career, even collaborating with Gene Clark and Chris Hillman on two late '70s albums. Hillman too, became a solo acoustic performer, also working with the country group, the Desert Rose Band. Having overcome a serious drug problem, Crosby continued to tour with Crosby, Stills and Nash. The Byrds reunited briefly to record four new songs for a 1990 boxed set, and were inducted into the Rock and Roll Hall of Fame the following year. Sadly, Gene Clark died in 1991 and drummer Michael Clarke passed away in 1993.

Chris Hillman continued working as an acoustic artist and released two CDs in the mid 90's. David Crosby re-united with Stills, Nash and Young in early 2000 and Roger McGuinn toured as a solo acoustic artist and released an album called "Live From Mars". The Byrds reunited for a third time on August 8th, 2000, for a one-time benefit concert for Fred Walecki, the owner of a Los Angeles music equipment store who was suffering from throat cancer. Both Hillman and Crosby have said they'd be willing to work with McGuinn again, but Roger has remained adamant that he is not interested in another reunion, saying that he wants to remain a solo artist. Ownership of the "The Byrds" name had reverted to Gene Clarke's estate upon his death, but was purchased by David Crosby in 2002. Few of their contemporaries can claim to have made a greater impact on Pop culture than The Byrds. In 2004, Rolling Stone magazine ranked The Byrds at number 45 on their list of the 100 Greatest Artists of All Time.

In 2013, as the 50th anniversary of The Byrds grew near, both David Crosby and Chris Hillman expressed interest in some type of reunion, but Roger McGuinn was still staunchly opposed. "I'm happy with the Byrds as a good memory," he said, believing that reforming the band would just be about the money. Be sure to read Gary James' interview with Roger McGuinn The Byrds - Mr. Tambourine Man Lyrics | SongMeanings The Byrds 20 Essential Tracks from the Boxed Set: 1965-90 Original Singles, Vol. 1 (1965-1967) The Byrds' Greatest Hits The Byrds' Greatest Hits [Expanded] Mr. Tambourine Man Play the Songs of Bob Dylan [European Import] Greatest Number 1's Ever Mojo Presents... An Introduction to the Byrds The Collection [Sony] The Essential Byrds [3 CD] America's Great National Treasure Very Best of the Byrds [2006] Mr.

Tambourine Man [Bonus Tracks] 36 All-Time Favorites Live at Royal Albert Hall 1971 Very Best of the Byrds [UK] The Byrds Play Dylan: Collections Expanded Edition Album Sampler, Vol. 2 Playlist: The Very Best of the Byrds Mr. Tambourine Man/Turn! Turn! Turn!/Fifth Dimension/Younger Than Yesterday/The Notorio X2: Mr. Tambourine Man/Sweetheart of the Rodeo Definitive Collection: Best of the Best Gold Definitive Collection [2002] Doin' All Right for Old People The Very Best of the Byrds [US] Eight Miles High: The Best Of The Byrds America's Musical Landscape The Essential Byrds [Limited Edition 3.0] Untitled/Unissued Hey, Mr. Tambourine man, play a song for me I'm not sleepy and there ain't no place I'm going to Hey, Mr.

Tambourine man, play a song for me In the jingle jangle morning, I'll come followin' you Take me for a trip upon your magic swirling ship All my senses have been stripped And my hands can't feel to grip and my toes too numb to step Wait only for my boot heels to be wandering I'm ready to go anywhere, I'm ready for to fade Into my own parade Cast your dancing spell my way I promise to go under it Hey, Mr. Tambourine man, play a song for me I'm not sleepy and there ain't no place I'm going to Hey, Mr. Tambourine man, play a song for me In the jingle jangle morning, I'll come followin' you

Question: Who wrote the song Mr Tambourine Man which reached Number One for The Byrds in 1965?
Answer: BOB DYLAN